1990 : Ay Carmela – The film stars Carmen Maura, Andres Pajares and Gabino Diego as a trio of vaudeville actors performing for the Republic, who inadvertently find themselves on the Nationalist side during the closing months of the Spanish Civil War. The director confesses: „I would have been incapable a few years ago of treating our war with humor… but now it is different, for sufficient time has passed to adopt a broader perspective, and here there is no doubt that by employing humor it is possible to say things that it would be more difficult if not impossible to say in another way”. The film takes its title from the song „Ay Carmela”, which begins and ends the film. It was the favorite song of the Republican soldiers and of the International Brigade during the Spanish Civil War. I found the film deeply moving, warm, balancing beautifully moments of humour and tragedy.

1992 : El Sur

1992 : Marathon

1992 : Sevillanas – Filmed like a documentary, „Sevillanas” consists of eleven short performances by Spain’s most famous flamenco dancers, singers and guitarists.

1995 : Flamenco – As a hall fills with performers, a narrator says that flamenco came from Andalucia, a mix of Greek psalms, Mozarabic dirges, Castillian ballads, Jewish laments, Gregorian chants, African rhythms, and Iranian and Romany melodies. The film presents thirteen rhythms of flamenco, each with song, guitar, and dance: the up-tempo bularías, a brooding farruca, an anguished martinete, and a satiric fandango de huelva. There are tangos, a taranta, alegrías, siguiriyas, soleás, a guajira of patrician women, a petenera about a sentence to death, villancicos, and a final rumba. Families present numbers, both festive and fierce. The camera and the other performers are the only audience. The film also serves as a celebration of a truly popular culture in an increasingly homogeneous world. Starring: Paco de Lucia, Joaquin Cortes, La Paquera de Jerez, Carmen Linares…

1998 : Tango – I’m sure there is no other movie or documentary about this dance of passion that can equal Saura’s Tango. Its perfect cinematography (again by Vittorio Storaro) makes it a feast for the eye. Also, it makes you really understand what a tango means and how it feels. It’s not just a dance, it’s the dance that comprises all the conflict of the human heart and mind, all the significance of war and Argentina’s dark years of political suppression and „disappearances”